As part of the The Start - Design Bridge’s junior programme, I visited a multi-sensory exhibition designed to foster a greater understanding of disability. Inspired by our experience, strategist Gayatri Rana and I were eager to discover the latest design innovations that provide for the needs of people with disabilities.

What do you find beautiful or ugly about King’s Cross? What makes you feel authentic? These were among the questions BA Culture, Criticism and Curation students asked audiences at Colour Outside the Lines - a Central Saint Martins degree show.

In anticipation of my dad’s second album launch, I consider how artists use their creative practice to think through their experience of disability and illness.

If what defines theatre is the engagement of the imagination of the audience, then how can theatre practitioners activate and enhance that engagement so that audiences move from passive spectators to active participants in the making of theatre?

How can curators challenge systems of domination to enable a more democratic and or equitable approach to curating?

An immersive 3D audio company has brought the Scottish Play to our ears and the result makes listening to William Shakespeare’s bloody tragedy feel almost tangible.

What happens to the stories that stray from the traditional narrative arc? That defy explanation, but nonetheless are arresting to the extent they deserve to be shared?

Who is speaking and to whom?

André Singer’s lucid Holocaust documentary ‘Night Will Fall’ demonstrates the power of cinema and its role in urging awareness in the present day. But why was Sidney Bernstein’s footage of the Nazi Concentration Camps suppressed until today?

John Cage would say that any sound and every sound can be music - if we want it to be.

Jenny Holzer is best known for bringing art to the streets, but in a retrospective of her work at the Tate Modern, the street is reimagined inside the museum.

On the one hand, for as long as there is no consensus over whether art should be political, we are in danger of detracting from revolutionary art. On the other, perhaps it is this claim for autonomy which offers the Revolutionary protection.

The poor image starts life being a copy on the move, so increasingly deteriorated and mangled by the multitude of digital analogue hybrid processes that we doubt it ever existed as a clear focussed entity.

Peruvian artist Lucia Cuba operates at the intersection between fashion design and social research; creating garments and other wearable items which function as performative and political devices.

1962 Manhatten, New York City. A group of visual artists, dancers, choreographers, musicians and writers assemble at the Judson Memorial Hall to collaborate and produce work that will transform the trajectory of performance art.

For the 2018 Hyundai Commission at the Tate's Turbine Hall, Tania Bruguera is challenging an absence of feeling through what she calls “political-timing specific art”.

Alfonso Cuarón’s Roma reveals to us the multilayering form of cinematic storytelling and all it can offer.

If most of us agree that a roof over our head is a human right, why do we tolerate such an unscrupulous housing system?

The harrowing truth about Ireland’s mother and baby homes reveals shame as an intensely feared, physically felt and performed emotion that can be ‘caught’ through contact.

How did the stage adaptation of Eimear McBride’s stream of consciousness novel A Girl Is A Half-formed Thing capture the hearts and minds of its audience? I review the play on stage at The Traverse theatre as part of the Edinburgh Fringe Festival with the original novel and adapted script in hand.